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Tainted  by  .f^elA- i^fiKfiiveiur^f'?' 


GOTHIC  ARCHITECTURE 


APPLIED  TO  MODERN   RESIDENCES: 


CONTAINING 


DESIGNS  OF  ALL  THE  IMPORTANT  PARTS 


l^riaate  Diuelling, 


EXHIBITED    IN 


ELABORATE    PERSPECTIVE    DRAWINGS; 


TOGETHEH    WITH 


LARGE  AND  COPIOUS  DETAILS. 


BV 

D.    H.    ARNOT, 

A  RCIIITECT. 


NEW-YOKK: 
D.    APPLET  ON    &    COMPANY,    20  0    BROADWAY 

riULADELPIIIA  : 
GEORGE    S      APPLETON,    101    C 11 E8NUT-STRE  ET. 

M.DCCC.LI. 


Rntkred.  according  to  Act  of  Congress,  in  the  year  1849, 

By  D.  H.  ARNOT, 

In  the  Clerk's  Office  of  the  District  Court  for  the  Southern  District  of  New- York. 


PREFACE. 

To  select  from  the  simple  elements  of  design  the  most  applicable  and  intel- 
ligible forms,  and  combine  them  in  the  most  useful  and  imposing  manner,  -without 
affectation  or  distortion,  is  considered  the  great  aim  and  duty  of  the  architect. 
Those  elements  exist  either  in  shadow  or  substance ;  in  shadow  when  conveyed  to  the 
mind  by  description,  for  delineation  is  but  a  graphic  description ;  and  in  substance 
when  impressing  the  beholder,  by  their  venerable  and  all-engrossing  presence,  with 
the  zeal  and  emulation  of  their  authors.  Such  zeal  we  would  wish  to  bestow  on  the 
pages  of  this  work,  as  to  indicate  from  which  of  these  som'ces  we  have  derived  our 
store  of  rudimental  wealth ;  which  our  task  will  be  to  model  and  apply  to  the 
adornment  of  modem  residences,  in  the  following  order : 

To  the  entrance,  which  is  in  a  measure  the  index  to  the  interior ;  to  the  stoop 
and  vestibule ;  and  to  the  hall  and  staircase,  which  in  ordinary  city  houses,  so  far 
as  dimensions  are  concerned  are  certainly  contracted,  but  are  nevertheless  suscep- 
tible of  a  high  degree  of  architectural  beauty  in  the  Gothic  style,  for  to  its  true 
display  or  successful  practice,  great  width  is  not  so  desirable  as  in  the  various  styles 
of  Classic  Architecture ;  which,  being  based  on  the  Egyptian,  are  seldom  seen  to 
advantage,  unless  extreme  breadth  in  proportion  to  their  altitude  can  be  obtained. 
To  the  parlors  communicating  with  folding  or  sliding-doors,  according  to  the 
generally  received  plan,  and  to  the  more  elaborate  finish  and  decoration  of  various 


ly  PREFACE. 

subjects  interiorly  where  a  higher  degree  of  enrichment  is  desirable.  Lastly — ^to  the 
judicious  selection  and  disposition  of  the  detail  and  ornament  most  appropriate  to 
the  leading  features  of  the  exterior. 

The  perspective  drawings  are  such  as  to  give  a  true  idea  to  the  owner  selecting 
Bpecimens  for  the  adornment  of  his  house,  and  are  accompanied  with  all  the  neces- 
saiy  details  to  a  working  scale,  to  enable  the  mechanic  to  give  an  accurate  estimate 
of  cost,  based  on  actual  measm-ement.  The  surfaces  and  gh-ths  of  mouldings  of 
Gothic  design,  will  prove  in  most  cases  of  less  superficies  than  any  Grecian,  Roman, 
or  Egyptian  model ;  and  consequently,  if  its  practice  is  thoroughly  understood,  less 
costly  as  requiring  less  material ;  and  less  subject  to  decay  as  presenting  less  surface 
to  the  action  of  the  weather  or  other  causes ;  and  fi'om  the  depth  of  cutting  and 
picturesque  grouping  of  the  mouldings,  in  want  of  less  carving  to  produce  richness 
of  surface,  than  any  other  style. 

Although  numerous  specimens  and  adaptations  of  Gothic  art  are  already  before 
the  public,  still  they  relate  to  places  and  purposes  foreign  to  the  taste  and 
practices  of  this  country ;  consequently  in  this  particular  branch  of  art,  this  work 
may  be  considered  as  the  first  attempt  to  supply  a  want  which  has  long  been  felt 
by  both  the  professional  man  and  amatem\ 

Neio-Yoric,  50  Wall-st,  January,  1850. 


NUMERICAL  LIST  OF  PLATES. 

Co/.— Title  Illuminated 

I.     1. — Plan  of  Door-piece,  showing  soffit Scale  1  inch  to  the  foot. 

c.    2. — Two  Elevations  of  Doors Scale  {  inch  to  the  foot. 

c.    3. — Perspective  of  Door-pieoe. 

I.     4. — Section  of  Door-piece Scale  1  inch  to  the  foot. 

/.     5. — Plan  of  Staircase,  with  details  enlarged Scale  \  inch  to  the  foot. 

I.    6. — Elevation  of  Staircase,  with  details  enlarged Scale  ^  inch  to  the  foot. 

c.    7. — Perspective  View  of  Staircase. 

c.    8. — Hall-door,  Elevation,  with  enlarged  details Scale  |  inch  to  the  foot. 

I.    9. — Plan  of  Parlor Scale  3  inch  to  the  foot. 

I.  10. — End  Elevation  of  Parlor,  and  enlarged  plan  of  window.      .        .  Scale  J  inch  to  the  foot, 
c.  1 1. — Perspective  of  Parlor,  first  view. 

c.  12. — Perspect.  View  of  Corbeling,  Cornice  and  Ribs  of  Ceiling  with  Sect'ns.  Scale  1|  inch  to  the  foot. 

/.  13. — Side  Elevation  of  Parlor,  and  enlarged  Plan  of  Chimney-breast.  Scale  \  inch  to  the  foot. 

c.  14. — Plan  and  Elevation  of  Sliding-doors. Scale  \  inch  to  the  foot. 

I.  15. — Plan  of  Parlor,  No.  2 Scale  \  inch  to  the  foot. 

c.  16. — Perspective  of  Parlor,  second  view 

c.  17. — Perspective  of  1st  Story  Windows  and  Balcony. 

c.  18. — Elevation  of  Balcony Scale  1  inch  to  fhe  foot. 

/.  19. — Section  of  Balcony,  with  enlarged  details Scale  1  inch  to  the  foot. 

/.  20. — Balcony  details Half  full  size. 

c.  21. — Perspective  of  Cornice  and  Parapet. 

I.  22. — Elevation  of  Cornice  and  Parapet Scale  1  inch  to  the  foot. 

/.  23. — Section  of  Cornice,  with  half  full  size  details.  ....  Scale  1  inch  to  the  foot. 


VI 


NUMERICAL    LIST    OF    PLATES. 


c.  24. — Elevation  and  Section  of  Cornice 

I.  25.— Plan  of  Stoop 

I.  26. — Elevation  and  Section  of  Stoop 

c.  27. — Perspective  of  Stoop. 

/.  28. — Details  of  Stoop  (Tracery  explained).      ,        .        .        , 

I.  29. — Plan  of  Staircase,  for  a  30  feet  lot 

I.  30. — Elevation  and  Section  of  Staircase.  .        .        .        . 

c.  31. — Perspective  of  Staircase  (second  example). 
I.  32. — Details  of  Staircase  (Tracery  explained).     . 

I  33.— Plan  of  Library 

I.  34. — Details  of  Library  (Tracery  explained). 

c.  35. — Elevation  of  Window  and  Case  to  Library.     . 

c.  36. — Perspective  of  Library. 

Col. — Illumination  of  Centre  Ornament.     PI.  9. 

Co^.— Illumination  of  Chimney-breast.     PI.  16. 

Co/.— Stained  Glass,  Sliding-doors.     PI.  14. 

Plates  marked  I,  are  in  line  ;  those  marked  c,  are  in  crayon ;  and 


.     One-third  full  size. 

Scale  -J-  inch  to  the  foot. 
,     Scale  ^  inch  to  the  foot. 

Scale  as  marked, ^art  \  full  size. 
.     Scale  3  inch  to  the  foot. 
Scale  I  inch  to  the  foot. 

.    Scale  2  inches  to  the  foot. 

Scale  f  inch  to  the  foot. 
.     One-third  full  size. 

Scale  f  inch  to  the  foot. 

.     To  follow  Plate   9. 

"      «         "     16. 

.       «      "         "     14. 

those  marked  Col.,  are  illuminated. 


WOOD    CUTS. 

Example  of  False  Design  in  Lintels Page    2. 

Example  of  False  Design  in  the  non-correspondence  of  the  Exterior 

and  Interior  Openings "3. 

Two  Designs  for  Stair-railing,  Newel  and  Lamp-post "10. 

Example  of  False  Design  in  Cornices.          .        .        .        .        .        .  "25. 

Interruption  of  Lateral  Parapet  by  Gable "27. 

Example  of  False  Design  in  Stairs  crossing  Openings.        ...  "     32. 

Design  for  Bedstead "     38, 

Design  for  Pier-glass. "39. 


CONTENTS. 


CHAPTER  L 
DOORS    AND    D00R-PIE0E8. 

CHAPTER   II. 
ON    INTERIOR    ORNAMENT  —  HALL    AND    STAIRCA8E. 

CHAPTER   III. 
ON    INTERIOR    ORNAMENT PARLORS. 

CHAPTER    IV. 
ON    EXTERIOR    ORNAMENT  —  WINDOWS    AND    BALCONY. 

CHAPTER  V. 
ON    EXTERIOR    ORNAMENT  —  CORNICES    AND    PARAPET. 

CHAPTER  VI. 
ON    EXTERIOR    ORNAMENT  —  STOOP    AND    COPING. 


via  CONTEXTS. 

CHAPTER    TIL 
QrADBAXGULAB    STAIBCASS. 

CHAPTER  ym 

LIBBABT. 

CHAPTER    IX- 
ILLUJCIXATIOy. 


GOTHIC  AECHITECTURE, 

APPLIED  TO  MODERN  RESIDENCES. 


CHAPTER  I. 

Ix  what  is  generally  termed  fine  designs  for  residences,  too  much  of  the  temple 
or  ecclesiastical  has  usually  been  perceived  and  admitted,  in  some  cases  to  the  pride 
and  gratification  of  the  owner,  but  more  frequently  subject  to  the  reprehension  of 
men  of  better  taste.  For  in  this  art  of  Architecture,  as  in  almost  all  others,  nature 
and  simplicity  are  indicative  of  refinement,  and  not,  as  is  too  often  considered, 
of  intricacy  and  elaborate  combination. 

Now,  we  are  at  a  loss  to  conceive  what  impulse  directed  the  construction,  or 
conceived  the  adaptation,  of  such  tall,  attenuated  pillars,  encompassing  a  square 
mass  of  glaring  white  and  green,  so  frequently  distorting  the  outline  and  destroying 
the  harmony  of  wood  and  field  in  so  many  of  our  most  beautiful  retreats  ;  possessing 
all  the  accompaniments  of  column  and  entablature,  derived  from  Grecian  temple  or 
Roman  Pantheon,  but  so  irregularly  applied  as  to  render  the  composition  ridiculous  : 
being  adopted  simply  to  suit  the  doors  and  windows  occurring  on  the  surface, 
according  to  the  internal  arrangement  which  convenience  or  caprice  might  suggest ; 
for  unless  either  the  openings  or  columns  were  relinquished,  it  would  be  altogether 
hopeless  to  produce  conformity. 


GOTHIC    ARCHITECTURE, 


The  fancy  for  temples  is,  however,  decHning,  and  has  now  almost  expired, 
either  from  the  strong  voice  of  censure  and  ridicule,  or  the  desire  for  something 
more  novel  and  distingue.  It  is  to  be  feared  that  to  the  latter  feeling  we  are 
mainly  indebted  for  the  reaction  which  has  taken  place  —  for  unluckily  we  must 
endure  a  repetition  of  those  features  and  decorations  peculiar  to  and  constituting 
Church  Architecture,  in  every  store-front,  and  on  every  window,  to  the  infinite 
derangement  of  the  old  economy  of  sash  and  blind-making.  But  of  this  we  should 
make  no  complaint,  if  the  adaptation  were  consistent ;  but  considering  the  true 
principles  of  Gothic  Architecture  to  consist  in  the  vertical  line,  as  those  of  Classical 
Architecture  in  the  lateral,  what  ought  to  be  our  grief  and  reprehension  in  beholding 
such  incongruous  combinations  as  the  fol- 
lowing, at  the  same  time  below  as  it  is  be- 
yond criticism?  This  amalgamation  had 
a  beine  some  time  about  the  era  of  the  last 
great  fire  (1845),  and  has  since  been  cir- 
culating with  woful  rapidity.  It  does  not 
seem  to  be  understood  that  to  violate  the 
principles  of  design  is  tantamount  to  the 
deposition  of  nature  from  her  seat,  and 
reason  from  its  throne ;  for,  on  inquiry,  it 
might  be  discovered  that  a  horizontal  line 
on  a  Gothic  shaft  and  cap  is  a  solecism, 

and  a  feature  which  we  could  freely  challenge  all  previous  example  to  furnish.  Inno- 
vation is  tolerable  when  it  bears  evidence  of  reason  and  judgment ;  but  without 
this  it  is  the  true  index  to  ignorance  and  want  of  thought. 

Exteriorly  and  interiorly  an  elevation  ought  to  correspond.  This  is  a  principle 
received  as  well  by  men  of  study  as  by  the  impulse  of  common  sense,  which,  when 
we  see  disregarded,  we  naturally  condemn  the  empiric  as  devoid  of  either.  By 
straining  after  the  ecclesiastical  in  our  application  of  Gothic  Architecture  to 
modern  residences,  the  ambitious  architect  will  often  find  himself  in  such  straits 
as  the  following  : 


APPLIED    TO    MODERN    RESIDENCES. 


3 


imsLx 


\    I     II 


I    I    I    I    I    i    I    ' 


EXTERIOE. 


INTERIOR. 


It  is  questionable  if  an  owner,  viewing  this  as  truly  before  building  as  he  would 
have  an  opportunity  of  doing  after,  could  be  induced  thus  to  perpetuate  another 
man's  blunders  at  his  own  personal  expense. 

Doous. — It  is  reasonably  assumed  that  doors  formed  the  first  object  as  well  as 
subject  of  architectural  study  and  decoration,  even  before  pillars  or  columns  made 
their  appearance  ;  for  the  arms  of  a  chief,  or  the  crook  and  scrip  of  a  shepherd, 
crossed  on  the  opening  of  a  tent,  would  afford  an  idea  of  security  as  well  as 
ornament,  and  form  most  likely  the  sole  attempt  throughout  of  prominence  or 
distinction. 

In  ancient  temples  there  seems  to  have  existed  an  idea  of  superhuman  vastness 
in  doors  or  entrances,  if  we  might  argue  from  their  width  and  altitude.  In  respect 
to  their  width,  we  have  good  reason  to  suppose  it  was  demanded  by  the  great  con- 
course thronging  those  edifices  of  religion  :  but  their  altitude,  in  the  best  Egypti;ui 
examples,  amounted  even  to  the  interminable,  as  in  the  great  temple  of  Tentyra ;  — 
this  being  of  necessity  perpetually  open,  the  interior  was  screened  by  a  stone 
curtain,  which  formed  part  of  the  design  of  the  temple  itself.  Although  prudence 
might  complain  of  a  repetition  of  this  feature  in  modern  times,  or  find  it  difficult  to 
conceive  it  plausible  in  those  problematic  ages,  still  there  is  an  air  of  lofty  feeling 
in  its  concei)tion,  and  true,  imperishable  sublimity  in  its  contemplation. 


4  GOTHIC    ARCHITECTURE, 

Neither  was  the  aUitude  of  the  doors  of  the  Greeks  a  matter  of  domestic 
economy,  as  some  suppose,  to  admit  hght  in  the  absence  of  windows  —  for  being 
open-roofed,  their  interior  would  be  amply  lighted  ;  but  rather  the  influence  of  the 
principle  which  imparted  it  to  their  Egyptian  models.  With  the  Romans,  however, 
the  door  became  shorn  of  its  fair  proportions,  and  their  works  bear  evidence  of 
being  built  for  men  instead  of  gods. 

Moderate  sized  doors  and  lofty  windows  are  together  strikingly  characteristic 
of  the  earlier  and  middle  Gothic  ages ;  in  fact  that  feature  pervades  every  era  to 
a  greater  or  less  extent,  except  in  some  instances,  such  as  in  Lincoln  Cathedral 
(Great  Britain),  where  emulation  seems  to  have  outstripped  conventionality,  and 
vied  in  altitude  with  the  beetling  rock  itself 

But  what  our  aged  prototypes  lost  in  their  doors  they  gained  in  their  windows ; 
the  ethereal  spirit  of  heavenly  light  might  there  have  scope  to  shed  its  influence, 
tinged  with  the  hue  of  rubies  and  emeralds,  on  its  passage  to  the  humble  altar  and  con- 
trite worshiper ;    the  door  of  the   mediaeval  edifice   has   been   retained,  and  has 
descended  through  centuries  to  us,  though  impaired  and  defaced  by  Grecian  and 
Roman  trimmings  ;  but  by  those  peculiar  tides  that  regulate  fashion  and  change,  we 
have  a  revival  of  its  ancient  accompaniments  springing  up  amongst  us.     This  leads 
to  the  consideration  of  plan  of  door-piece   ({)late  No.  1),  wherein,  by  a  simple 
combination  of  individually  commonplace  mouldings,  and  grouping  of  members,  a 
depth  of  shadow  and  a  quiet  richness  is  produced  in  the  jambs,  which  can  be  appre- 
ciated by  viewing  it  in  perspective  (plate  No.  3).     This  cflect  might  be  further 
enhanced  by  splaying  the  jambs  on  an  angle  of  4.5  degrees,  an  angle  beyond  which 
it  is  seldom  necessary  or  prudent  to  bevel  Gothic  mouldings  ;  then  follows  the  pan- 
eling, on  a  surface  at  right  angles  with  the  face  of  the  building,  and  continuing  on 
the  soffit  or  crown  of  the  arch.     This  paneling  is  embraced  by  four  circular  shafts 
in  each  angle  of  the  compartment,  with  capitals,  over  which  the  mouldings  change, 
and  may  unite  in  a  boss,  as  shown  on  plan  ;  but  this  is  optional :  they  are  drawn 
continuous  in  perspective  view.      The  door  itself  is  shown  in  section,  and  in  two 
leaves ;  also  an  enlarged  section  of  the  exterior  jamb. 

Plate  2  gives  in  geometrical  elevation  two  doors  for  this  design,  both  folding  in 


appliedtomodernresidenc;es.  5 

leaves ;  which  in  the  first  instance  curve  in  accordance  with  the  arched  opening, 
and  in  tlie  second  finish  square  to  the  transom  of  fau-hght.  In  the  first,  hght  to  tlie 
hail  is  obtained  through  the  perforated  tracery  in  the  head  of  panels ;  and  in  the 
second,  through  the  fan-light  In  point  of  elegance  and  purity  of  design,  the  first  is 
preferable  ;  and  would  be  invariably  adopted,  were  it  not  that  preconceived  notions 
of  convenience  or  fashion  sometimes  control  the  judgment,  precluding  all  hope  of 
change  or  advancement  to  a  more  perfect  taste.  This  is  partially  excusable,  how- 
ever, when  we  find  the  same  inconsiderate  views  of  economy  have  been  entertained 
by  those  whom  time  has  sanctioned  as  authorities,  and  are  extensively  manifested  in 
the  restorations  of  doors  to  some  of  the  most  conspicuous  and  rehable  productions 
of  ancient  art  But  now  it  is  generally  conceded  that  such  impediments  to  the  free 
scope  and  extension  of  the  jamb-mouldings  into  those  of  the  flowing  archivolt,  are 
violations  of  those  principles  evinced  by  our  exemplars  which  it  ought  to  be  our 
study  to  preserve  pure  and  uncontaminated. 

Plate  3  is  a  perspective  view  of  this  frontispiece,  being  more  immediately  taken 
from  an  executed  example  than  a  linear  transcript  of  the  geometrical  drawings  ; 
from  those  it  differs  in  the  octangular  shaft  being  drawn  continuous  instead  of  being 
stayed  by  the  capital  at  the  spring  and  changing  its  section  id  the  arch ;  and  also  in 
the  first  circular  shaft  being  shown  discontinuous,  instead  of  springing  witliout  a 
cap  and  unchanged,  as  shown  on  section.  The  practice  of  continuing  or  discontin- 
uing jamb-raouldings  at  the  spring  is  optional ;  but  on  the  introduction  of  a  capital, 
their  change  becomes  no  longer  a  matter  of  choice,  but  absolute.  This  door-piece 
nii.y  either  be  elevated  on  a  flight  of  steps,  or  not,  as  the  height  of  the  basement 
requires,  without  materially  affecting  the  general  aspect  of  the  design.  The  span- 
drils  formed  by  the  arch  mouldings  below,  and  by  those  of  the  squareheaded  label 
on  the  side  and  top,  are  composed  of  foliage,  the  richly-carved  leaves  and  sicms  of 
which  being  judiciously  undercut,  would  contrast  agreeably  with  a  shield  or  other 
emblematical  object,  polished  smooth,  and  encircled  by  the  branches. 

Beyond  the  unfolded  doors  a  perspective  of  the  hall  is  obtained,  beginning  with 

a  s  ubdivision  intended  to  convey  the  idea  of  a  vestibule,  having  a  centre  ornament 

)n  the  ceiling,  with  a  suitible  lamp  suspended.     The  arch  forming  this  subdivision 


6  GOTHIC     ARCHITECTURE. 

or  couipartinent  springs  from  corbels,  it  being  objectionable,  where  the  space  is 
limited,  to  continue  the  jambs  to  the  floor.  The  furniture  shown  is  a  chair,  which 
it  is  thought  best  to  have  of  a  massive,  bold  character,  made  out  of  solid  wood, 
either  oak  or  black  walnut. 

Exteriorly  the  label  terminates  in  a  corbel  formed  of  shields ;  but  where  its 
terminii  can  be  produced,  it  is  equally  suitable  to  finish  with  a  simple  return  of  the 
mouldings,  forming  a  label-knee. 

Plate  4  gives  the  section  of  the  platform  and  inner  step,  with  the  label,  jamb, 
and  panel  mouldings  consecutively ;  also  of  a  transom  dividing  the  door  from  the 
fan-light,  should  such  be  deemed  indispensable-  the  continuation  of  the  mouldings 
formins  a  side  elevation  of  the  whole. 

The   cost  of  such   a  door-piece,  of  stone,  would  at   the  present   rates 

amount  to  ___-------         $225  00 

To  which  add  for  steps,  platform,  and  newels,         -         -         -         -         -        75  00 
To  reduce  the  cost : 

Suppose  the  exterior  mouldings  of  jamb  extending  over  the  first  circular 
shaft  to  be  of  stone,  and  the  remainder  of  wood,  the  portion  of  stone, 
including  platform  and  inner  step,  would  cost         -         -         -         -         125  00 

The  remainder  of  wood,  with  doors,         -        -        -        -        -        -        -50  00 


CHAPTER  II. 

The  decorations  of  a  modern  hall,  when  its  dimensions  are  controlled  by  the 
usual  width  of  a  city  lot,  must  depend  entirely  on  the  management  of  the  ceiling, 
and  the  judicious  arrangement  of  the  staircase.  The  doors  and  door  trimmings,  if 
properly  disposed,  will  be  found  amply  sufficient  to  decorate  and  diversify  the  side 
of  the  wall  in  which  they  are  placed,  and  ought,  if  practicable,  to  occupy  that  on 
the  right  hand  of  the  entrance. 

The  hall  is  frequently  approached  by  a  compartment  representing  a  vestibule, 
and  in  many  cases,  especially  in  the  Gothic  style,  to  the  evident  advantage  and 
embellishment  of  the  whole.  This  compartment  might  either  be  enriched  by  ribs 
uniting  in  a  boss  in  the  centre  overhead,  or  by  the  introduction  of  a  flower,  of 
moulded  rose-tracery,  as  exhibited  in  the  soffit  of  the  design  for  an  entrance  CPl.  3). 
It  is  advisable,  in  designing  such  centre  ornaments,  to  refrain  entirely  from  the 
introduction  of  foliage  after  the  manner  of  classic  examples  ;  the  natural  and  eas;^ 
foliation  of  the  Gothic  moulding  affording  ample  richness,  and  in  its  smooth  lines, 
interlacing  and  radiating,  implying  the  probability  of  being  worked  on  the  surface, 
instead  of  an  excrescence  retained  in  its  place  merely  by  the  adhesion  of  plaster. 
The  numerous  and  diversified  examples  of  rose  or  wheel  windows  pervading  every 
age  of  Gothic  art,  are  highly  suggestive  of  new  and  elegant  combinations  in  the 
composition  of  this  class  of  ornament.  Those  patterns,  although  purely  ecclesias- 
tical when  existing  in  their  capacity  as  windows  in  a  vertical  position,  obviously 


8  GOTHIC     ARCHITECTURE. 

become  subdued  when  reduced  to  simple  panels  on  a  lateral  surface.  Their  intro. 
duction  as  centres,  either  to  halls  or  apartments,  has  not  hitherto  been  customary 
even  in  Europe ;  but  considering  the  inapplicability  of  groining  to  the  usual  dimen- 
sions of  modern  rooms,  and  the  monotony  to  be  apprehended  from  the  invariable 
use  of  paneling,  they  are  likely  to  become  a  very  general,  and  undoubtedly  appro- 
priate embelUshment. 

Staircases,  as  they  exist  in  early  Gothic  buildings,  seldom  evince  any  attempt 
at  decoration,  or  an  adequate  provision  for  lighting,  or  facility  of  ascent  —  affording 
merely  space  enough  for  one  person  at  a  time.  In  some  edifices  of  fair  architectural 
pretensions  even,  the  steps  are  nothing  more  than  stones  in  their  natural  state  wedged 
into  the  wall,  as  in  Cathcart  Castle,  North  Britain ;  for  in  matters  of  economy, 
when  durabihty  was  essential,  the  primitive  notion  seems  to  have  prevailed,  that  the 
surfaces  polished  by  the  hand  of  time  were  encrusted  with  a  mail  beyond  the  gift  of 
art.  Instances,  however,  exist,  indicating  that  when  stairs  became  the  object  of 
architectural  display,  they  were  treated  as  features  capable  of  enhancing  the  effect, 
and  bestowing  a  pecuhar  character  on  the  composition,  if  we  may  judge  from  the 
prominent  place  given  them  in  the  exterior  elevation  in  many  ul'  the  best  examples, 
as  in  the  staircase  of  the  Registry,  Canterbury  Cathedral,  in  the  south,  Haddon  Hall 
in  the  north,  and  Crosby  Hall  in  the  capital  or  centre  of  Great  Britain  —  evidences 
so  conspicuous,  as  to  place  beyond  question  the  value  attached  by  the  fathers  of 
Gothic  art,  to  an  adaptation  incorporating  the  useful  with  the  ornamental. 

Custom,  and  conformity  of  wants  and  habits,  render  the  position  of  the  stair- 
case no  longer  optional.  In  ordinary  instances  it  is  better,  perhaps,  to  be  partially 
restrained  by  time-honored  use,  than  suffer  those  vagaries  whereto  untutored  skill 
or  unrestricted  space  is  apt  to  lead.  Irrespective  of  the  position,  sufficient  scope  to 
ingenuity  remains  in  the  necessary  details,  which  in  the  staircase,  over  all  the  rest 
of  the  interior,  present  a  variety  of  form  and  purpose  susceptible  of  the  most  pictur- 
esque construction,  and  wherein  the  ribs,  pendants,  and  bosses  of  Gothic  archi- 
tecture may  occupy  an  appropriate  place.  The  openings  of  doors  and  windows  on 
the  landing  or  intersole,  besides,  require  more  discrimination  in  their  disposition 
than  the  simplicity  of  the  subject  would  seem  at  first  to  imply.     It  is  only  by  a  siu- 


APPLIED     Til      MODERN      RESIDENCES.  9 

dious  observation  of  the  design  and  object  of  each,  and  under  the  influence  of 
the  principle  of  utility,  that  a  perfect  plan  can  be  produced,  forming  the  basis 
of  architectural  decoration. 

The  value  of  such  pre-consideration  is  more  obvious  where  there  is  evidence  of 
its  having  been  utterly  neglected,  where  the  continual  recurrence  of  an  awkward 
feature  from  want  of  calculation,  forming  a  perpetual  eyesore,  is  more  hkely  to 
strike  the  observer,  than  where  every  object  and  opening  occupies  its  most  fitting 
and  convenient  position. — Closet  doors  are  objectionable  on  the  first  landing,  as 
tending  to  crowd  those  of  more  importance,  and  confuse  a  visitor.  So  are  doors  to 
hall  bedrooms,  when  the  landing  is  so  narrow  as  to  bring  them  close  to  the  stairs, 
or  reduce  their  width  below  that  of  the  others.  Those  apartments  had  better  be 
appended  as  ante  or  dressing  rooms  to  the  principal  bedrooms,  than  injure  the 
ascent  of  the  stairs  by  a  short  turn  and  narrow  winders,  in  order  to  obtain  space 
for  a  superfluous  door. 

The  plan  of  a  staircase  (Plate  5)  consists  of  straight  flights  of  steps  with  a 
platform,  from  which,  at  a  convenient  height,  open  the  windows ;  or  in  other  in- 
stances, as  it  may  happen,  the  door  to  the  apartment  over  tea-room  or  to  the 
balcony  over  rear  piazza.  In  more  extensive  houses,  a  different  arrangement  would 
follow,  which  will  be  fully  exemplified  in  the  second  illustration  of  this  portion  of 
the  house,  wherein  the  stairs  being  nearly  in  the  centre,  between  the  front  and 
rear,  and  thereby  deprived  of  direct  light  from  the  windows,  will  derive  it  from  the 
roof.  With  the  plan  is  given  the  paneling  on  the  soffit  of  platform,  and  enlarged 
drawings  of  the  ribs  and  the  pendants  at  their  intersections.  The  place  of  the  latter 
might  be  suitably  supplied  by  a  boss,  or  the  ribs  simply  mitred  into  each  other. 
This  portion  may  equally  well  be  constructed  of  wood  as  of  plaster ;  in  which  case 
it  is  not  so  necessary  to  attain  to  that  smoothness  and  lustre  considered  so  indis- 
pensable in  trimmings  generally,  for  the  roughness  and  character  as  left  by  the  hand 
of  a  skillful  workman,  has  ahvays  been  to  connoisseurs  the  charm  of  original  produc- 
tions. Not  so  with  the  rail,  or  portions  accessible  to  the  hand :  to  those,  the  appli- 
cations of  sand-paper  and  varnish  may  be  duly  bestowed. 

The  railing  and  paneling  which  inclose  the  basement  stairs,  are  given  in  Plate 


10 


GOTHIC     ARCHITECTURE 


6,  with  enlarged  portions  of  each.  This  inclosing  would  not  apply  to  the  first  story 
when  the  principal  living  rooms  are  below.  Its  place  should  then  be  supplied  by  a 
railing  of  the  same  description  as  that  of  the  stairs,  and  a  similar  inclosing  would 
be  required  in  the  basement  to  the  stairs  leading  to  cellar. 

The  general  effect  of  the  geometrical  drawings  of  this  design, 
when  executed,  is  given  in  the  perspective,  Plate  7.     The  newel  in 
this  view,  partly  from  its  proximity  to  the  eye  of  the  spectator,  and 
partly  from  its  base  coming  without  the  limits  of  the  picture,  assumes 
a  more  imposing  size  than  it  really  possesses,  it  being  drawn  six 
inches  only  in  diameter  at  the  base,  in  the  plan  from  which  the  per- 
spective was   taken.     Its    top    may  be    suitably 
occupied  by  a  lamp,  or  a  frame  designed  for  in- 
closing one,  according  to  the  sketch  in  margin. 
This  affords  another  design  for  a  newel,  and  two 
more  patterns  of  railing  with  two  rails  to  each 
step.     The  rails  present  a  greater  surface  on  the 
side,  than  on  the  end  view.     They  might  apply 
exteriorly  as  patterns  for  iron  railing  to  the  stoop, 
or  by  a  slight  modification,  to  the  level  railing  of 
areas  or  balconies. 

The  component  parts  of  this  design  for  a 
staircase,  are  not  necessarily  more  intricate  or 
expensive  than   those  of  a  Grecian  or  Roman 
origin,  and  were  it  merely  from  a  desire  to  diver- 
sify the  prevailing  monotony,  might  occasionally 
be  found  to  impart  novelty  and  freshness  to  a 
composition.     It  is  true,  the  noble  and  imposing  features 
Gothic  art  are  but  sparingly  developed.     This  is  owing  to  the 
nsion  that  those  almost  insuperable  objections,  which  are  apt 
to  arise  in  point  of  cost,  in  contrasting  the  new  with  the  ordinary  devices, 
would   be  allowed   to  militate  against  a  fair  discrimination  between  the  distinct 


APPLIED     TO      MODERN      RESIDENCES.  U 

properties  of  each.  A  caution  and  moderation  has  therefore  been  deemed  most 
prudent  in  the  selection  of  ornaments ;  and  if  they  reflect  but  the  shadow,  it  is 
presumed  they  retain  a  few  of  the  characteristic  traits  and  attributes  of  the 
originals. 

Openings  on  tlie  hall,  as  vestibule  and  parlor  doors  may  be  appropriately 
trimmed,  according  to  the  elevation  given  in  Plate  8,  presenting  a  more  massive 
aspect  than  would  be  necessary  in  the  apartments.  The  paneling  of  door  and  the 
spandrel,  in  the  head  of  arch,  are  enlarged  more  with  a  view  to  convey  the  true 
effect  when  executed,  than  to  the  explanation  of  the  principle  regulating  the  forma- 
tion of  the  foliations  and  cusps  composing  the  tracery.  To  this  a  separate  illustra- 
tion will  be  assigned,  in  a  future  portion  of  the  work. 


J2  GOTHIC      ARCHITECTURE. 


CHAPTER  III. 

Parlors,  in  the  modern  acceptation,  imply  a  general  reception-room  or  suite, 
corresponding  in  a  measure  to  the  hall  of  ancient  times.  And  in  accordance  with 
their  purpose,  deserve  the  strictest  attention  to  those  accessories  which  are  generally 
supposed  capable  of  producing  the  most  favorable  first  impression.  The  first  glance 
of  the  eye  embraces  much,  and  is  frequently  the  preceptor  to  judgment  and  the 
discrimination.  To  meet  this  favorably,  and  afford  a  subject  whereon  it  may  after- 
wards repose  with  interest  and  complacency,  is  accordingly  the  main  purpose  of  the 
design.  In  ordinary  houses  this  depends  entu-ely  on  the  furniture ;  but  there  is 
something  so  ephemeral  in  being  indebted  to  mere  movables  for  effect,  when  the 
staid  and  placid  features  of  constructive  art  are  available,  that  it  becomes  a  matter 
of  surprise  why  any  doubt  should  exist,  which  to  retain  and  which  to  relinquish. 
The  acceptation  of  the  one  does  not,  however,  involve  the  sacrifice  of  the  other ;  on 
the  contrary,  an  adaptation  and  keeping  ought  to  prevail  between  them,  which, 
properly  distributed,  would  evidently  tend  to  the  beauty  and  harmony  of  the  whole. 

The  halls  of  old,  comparatively  bare  of  furniture,  depended  on  the  ceiling  or 
roof  for  their  architectural  effect.  Sir  Walter  Scott  evinced  a  true  appreciation  of 
this  imposing  feature,  in  the  design  of  the  hall  at  Abbotsford,  where  corbeled 
beams,  and  drooping  pendants,  in  endless  succession,  producing  a  variety  of  light 
and  shade,  contributed  to  form  a  canopy,  unostentatious  from  the  simplicity  of  its 
material,  but  refulgent  from  the  effort  of  art  and  genius.     Although  to  a  certain 


APPLIED     TO     MODERN     RESIDENCES.  13 

extent  restricted  in  shape  and  altitude  in  modern  imitations  of  the  olden  style,  it 
does  not  therefore  follow,  that  the  attempt  should  be  relinquished.  Obstacles  ought 
rather  to  stimulate  to  new  endeavors  to  compensate  for  the  Avant  of  those  adven- 
titious dimensions,  formerly  inherited,  and  call  forth  an  exertion  to  fashion  what  we 
now  possess  to  the  utmost  advantage. 

It  is  doubtful  whether  we  are  to  be  benefited  more  by  an  absolute  obedience  to 
the  dictates  of  experience  or  past  example,  than  by  the  exercise  of  the  discriminative 
faculties  in  discovering  means  to  meet  the  exigencies  of  the  present.  We  are  at  a 
loss  to  discover  any  corresponding  features  of  plan  or  proportion  between  the 
present  and  the  past.  It  is  highly  improbable  that  from  all  the  accumulations  of 
bygone  industry,  any  portion  could  be  found  capable  of  being  transplanted.  The 
application  of  the  principle,  and  not  the  plagiarism  of  the  models  it  has  created, 
becomes  the  true  aim  and  practice  of  modern  ingenuity. 

In  regard  to  matters  of  economy,  and  secular  arrangement  of  the  conveniences 
of  plan,  this  age  can  borrow  nothing  of  the  past.  To  envelope  the  groundwork  or 
basis  afforded  by  previous  experience,  in  a  befitting  manner,  is  all  that  is  left  to  the 
province  of  art. 

To  characterize  the  style  of  architecture  selected  for  any  particular  purpose, 
more  distinctive  properties  are  required  than  can  be  conveyed  by  the  mere  use 
of  the  peculiar  ornaments.  The  proportions  are  its  true  evidences,  and  vary, 
according  to  the  era,  from  the  massive  and  solemn,  to  the  light  and  graceful.  The 
latter  would  seem  more  suited  to  domestic  purposes  than  the  former  or  intermediate 
stages.  And  the  elements  accordingly,  used  in  composing  the  accompanying 
designs,  are  organized  chiefly  in  this  opinion,  with  a  scrupulous  regard  to  the  con- 
sistency of  the  details  with  each  other,  forming  that  harmony  of  parts,  so  essential 
to  the  existence  of  symmetry. 

Plate  9  is  the  plan  of  a  front  parlor,  twenty-four  feet  by  sixteen  in  dimensions, 
showing  the  decoration  of  the  ceiling,  which  is  such  as  to  admit  of  the  room  being 
cither  increased  or  diminished  without  afiocting  its  arrangement.  The  centre  or- 
nament is  designed  with  a  view  to  its  panels  being  illuminated,  which  might  be 
done  with  propriety,  without  involving  the  other  portions  in  a  similar  expense. 


14  GOTHIC     ARCHITECTURE 

Plate  10  is  a  geometrical  elevation  of  the  end  of  the  room  looking  towards  the 
windows,  with  an  enlarged  plan  of  one,  opening  interiorly,  and  closing  against  a 
stationary  mullion  and  transom.  Giving  also  the  general  thicknesses  of  material  in 
the  construction  of  the  wall. 

Plate  11,  is  a  perspective  of  parlor,  with  the  front  windows  in  full  view.  Through 
the  open  casement  of  one  looking  out  on  the  balcony,  and  through  the  doorway  into 
the  hall.  The  ceiling  shown  in  accordance  with  the  delineation  in  plan  Plate  9.  A 
pier-table  is  corbeled  out  between  the  windows,  supporting  a  design  appropriate  for 
a  mirror,  or  as  paneling  for  decorations  in  fresco.  The  space  reserved  is  wider  than 
usual,  and  ought  always  to  be  as  ample  as  the  convenient  use  of  the  adjoining  ob- 
jects will  admit.  In  the  centre,  immediately  on  the  right  of  the  entrance,  a  table  is 
placed  corresponding  in  design  to  the  surrounding  architecture ;  between  it  and  the 
fireplace,  a  suitable  chair, — neither  of  which  ought  to  exceed  the  usual  price  of 
handsome  furniture,  unless  from  the  fact  of  their  being  made  from  a  particular  draw- 
ing, instead  of  following  the  usual  patterns.  The  design  on  the  mantel-shelf  gives 
an  idea  of  Gothic  candelabra,  the  lights  having  canopies  serviceable  either  as  shades 
or  reflectors. 

Plate  12,  represents  the  corbeling  used  to  support  the  cornice,  and  connecting 
with  the  ribs  of  the  ceiling ;  likewise  the  pendant  at  the  termination  of  these,  in  the 
moulding  or  rib  running  parallel  with  the  cornice.  Accompanied  with  a  section  of 
the  cornice  and  a  plan  of  the  mouldings,  springing  from  corbel,  with  the  projec- 
tion and  shape  of  its  capital  or  tablet.  Showing  the  mouldings  of  both  produced, 
and  the  manner  in  wliich  they  are  mitred. 

Plate  13,  gives  the  side  elevation  containing  fireplace,  with  the  arrangement 
best  calculated  to  incorporate  the  frequently  objectionable  projection  of  chimneys 
with  the  design.  The  flues  being  disposed  as  shown  in  the  accompanying  plan, 
renders  the  encroachment  on  the  apartment  eight  inches  only  in  the  most  flinisily 
constructed  houses,  and  in  those  of  a  more  substantial  class,  might  be  accomplished 
without  any  projection  whatever.  The  area  of  the  flues  ought  to  be  equal  to  those 
in  general  use,  but  differing  slightly  in  proportion,  being  a  little  narrower,  but  longer 
accordingly. 


APPLIED     TO     MODERN     RESIDENCES.  15 

Plate  14,  is  the  principal  portion  of  end  elevation  embracing  the  sliding  or 
folding-doors ;  being  of  more  architectural  pretension  than  the  other  sides,  it  is  ex- 
hibited on  a  larger  scale.  The  paneling  is  a  little  more  elaborate  than  that  of  the 
other  doors,  and  with  the  spandrel  of  the  arch,  would  require  to  be  draw  n  more  in 
detail ;  but  as  both  may  partially  apply  in  the  illustrations  necessary  to  the  exem- 
plification of  the  future  portion  of  the  work,  any  further  development  is  for  the 
present  deferred. 

In  giving  a  second  view  of  this  parlor,  a  few  modifications  have  been  made  in 
the  design  of  ceiling  as  shown  in  plan  Plate  15,  the  ribs  being  extended  over  the 
entire  surface,  instead  of  terminating  in  the  border,  as  in  the  first  example,  and  at 
their  intersection  in  the  centre,  enriched  by  a  large  boss.  Although  introduced  but 
sparingly,  they  are  sufficient  to  convey  a  correct  notion  of  the  effect  of  Gothic 
ceiling  as  partially  displayed  in  perspective,  Plate  16. 

A  more  elaborate  disposition  of  ribs  would  necessarily  enhance  the  richness 
of  the  design ;  but  so  long  as  the  requisite  number  is  obtained,  and  so  arranged  as  to 
form  the  apparent  support  of  the  ceiling,  the  purpose  is  adequately  fulfilled. 

In  the  perspective  view,  Plate  16,  the  chimney-breast  is  paneled,  showng  the 
effect  which  it  is  possible  to  produce  by  appropriate  decoration.  It  is  difficult  to 
prescribe  to  taste  and  fashion  in  the  selection  of  the  most  suitable  object  to  occupy 
its  centre.  Sometimes  a  mirror  would  be  thought  most  becoming ;  at  other  times, 
a  picture.  Happily,  however,  it  seldom  devolves  on  the  architect  to  lead  the  way 
in  matters  of  change ;  if  he  can  but  succeed  in  accommodating  each  mutation  to 
the  comparatively  inflexible  principles  of  his  art,  a  great  point  will  be  gained,  and 
his  care  and  industry  commensurately  rewarded. 

The  chimney-piece,  should  the  walls  be  left  of  their  natural  color,  to  produce 
the  most  brilliant  contrast,  and  harmonize  beautifully  with  the  lustrous  polish  of  the 
grate,  ought  to  be  of  that  dark,  though  not  opaque  marble,  known  as  Verde  An- 
tique, which,  although  like  all  other  substances  of  a  sombre  cast,  ill-adapted  as 
the  vehicle  to  architectural  study,  from  the  obscurity  caused  by  the  assimilation  in 
color  of  the  shadow  to  the  substance,  is  nevertheless  desirable  from  its  intrinsic 
beauty  as  a  material,  thereby  affording  a  substantial  reason  for  the  sparing  distribu- 


16  GOTHIC     ARCHITECTURE 

tion  of  ornament.  The  shelf  ought  to  be  of  moderate  projection,  and  a  moulding  of 
a  bold  section,  without  square  or  acute  angles,  would  be  more  suitable  in  this  style 
than  the  usual  slab.  Critically  considered,  the  slab  is  a  plinth,  and  as  such  bears 
no  affinity  to  the  details  of  Gothic  origin. 

The  grate  should  be  set  as  shown  in  elevation,  Plate  13,  without  those  flat 
cheeks  or  slabs  within  the  jamb,  the  introduction  of  which  has  hitherto  been  more  a 
matter  of  habit  than  requirement.  By  the  arrangement  of  chimney-breast  the  man- 
tels can  be  expanded  or  contracted  to  suit  any  width  of  grate,  irrelative  of  the 
breadth  of  the  breast  itself.  A  slight  regard  to  adaptation  in  the  arched  curvature 
of  the  grate  to  the  opening  of  the  mantel,  will  be  fully  compensated  in  the  effect 
produced. 

In  jointing  arched  mantels,  when  deprived  of  the  faciUty  afforded  by  an  impost 
moulding,  it  is  still  preferable  to  have  the  joint  at  the  spring,  instead  of  the  key  of 
arch.  The  eye  may  be  diverted  from  its  presence  by  the  introduction  of  a  shield, 
or  other  simple  ornament,  in  the  spandrel. 

The  second  view  in  perspective,  extends  through  the  partially  open  sliding- 
doors  into  the  adjoining  parlor,  the  general  features  of  which  would  resemble  the 
first.  A  few  matters  of  detail,  such  as  the  reverse  trimmings  to  large  doors,  and 
the  corbeling  on  the  walls,  it  might  be  judicious  slightly  to  curtail  in  richness  and 
depth  of  moulding.  And  in  such  cases,  where  the  entire  length  of  the  front-parlor 
cannot  be  conveniently  repeated,  four,  or  even  six  feet  less  would  not  materially 
injure  the  effect. 


APPLIED   TO    MODERN    RESIDENCES.  17 


CHAPTER  IV. 

The  exterior  features  of  the  principal  story  will  now  form  the  subject  of 
consideration.  Next  in  importance  to  the  entrance,  which  has  already  been  illus- 
trated, are  the  windows ;  and  to  their  just  proportion  and  trimming,  and  their 
relative  position  to  each  other,  we  must  owe  all  that  can  be  obtained  of  architec- 
tural character  in  the  exterior  elevation  of  the  city  residence.  The  mere  window 
or  opening,  apart  from  decoration,  has  nothing  to  commend  itself  to  the  most  indif- 
ferent spectator,  any  farther  than  in  point  of  economy  as  a  mere  space  for  the  admis- 
sion of  light  and  air.  To  the  effort  therefore,  of  adventitious  objects,  we  are  indebted 
for  whatever  it  possesses  of  interest  or  beauty.  For,  however  pleasing  in  effect  a 
mere  opening  may  be  on  the  level  or  accessible  line  of  the  floor,  it  must  lose  in 
point  of  interest,  according  to  the  laws  of  ancient  design,  on  being  removed  to  an 
unapproachable  position. 

Windows  are  nevertheless  the  grand  features  of  modern  architecture,  and  now 
it  is  almost  impossible  to  conceive,  and  but  for  veritable  evidence  would  be  deemed 
incredible,  how  the  Greeks  attained  to  the  perfection  of  architectural  skill,  as  far  as 
the  horizontal  principle  could  be  embodied,  without  such  accessories.  The  existing 
truths,  however,  only  tend  to  show  how  extremely  little  we  owe  to  ancient  Classic 
art  in  modern  composition.  Not  only  is  the  method  of  lighting  due  to  our  imme- 
diate ancestors,  but  the  art,  instigated  undoubtedly  by  necessity,  of  piling  up  as  it 
were  a  succession  of  houses  on  each  other,  in  placing  story  upon  story,  producing, 


18  GOTHIC    ARCHITECTURE 

ir  it  were  owing  only  to  the  mere  repetition,  something  of  a  magnificent  and 
aspiring  intelhgence. 

The  materials  used  by  the  inventors  of  windows  being  more  ponderous  tlian 
those  of  primeval  times,  would  necessarily  require  a  shorter  bearing  from  jamb  to 
jamb,  to  avoid  any  deficiency  in  support.  Hence  the  origin  of  a  new  feature  in 
architecture.  When  large  and  spacious  openings  were  required  to  suit  the  purposes 
of  the  design,  the  spaces  became  subdivided  by  subordinate  supports,  without  in- 
terrupting or  injuring  the  general  aspect  of  the  composition.  These  supports  have 
been  distinguished  as  muUions,  and  although  absolutely  necessary  in  wide  windows 
only,  have  become  so  essential  to  the  idea  of  what  is  generally  understood  as  a 
Gothic  window,  that  their  introduction  is  no  longer  a  matter  of  choice  but  necessity. 

In  like  manner  the  convenient  height  at  which  a  window  or  casement  should 
open,  became  defined  by  a  horizontal  division  intersecting  the  vertical  support, 
known  as  a  transom ;  the  mouldings  composing  the  surface  of  which,  were  gene- 
rally designed  to  mitre  or  intersect  the  vertical  lines  of  the  mullion.  In  ancient 
examples,  the  number  of  these  divisions  was  in  accordance  with  the  width  and 
height  of  the  opening ;  but  now,  in  ordinary  cases,  one  subdivision  of  the  width  and 
height  is  all  the  space  requires. 

Cornices  in  Classic  design  seem  to  be  designed  more  with  a  view  to  protection 
from  the  sun  than  the  weather.  Not  so  the  corresponding  feature  to  Gothic  open- 
ings ;  for  by  encircling  or  completely  surrounding  the  inclosed  space,  it  would 
more  effectually  protect  from  the  effects  of  a  northern  temperature.  Hence  its 
distinctive  appellation,  hood  or  label  moulding.  But  for  a  climate  partaking  both 
of  the  stormy  north  and  the  brightness  of  the  southern  sky,  we  have  yet  to  find  an 
adequate  protection  to  the  exposed  surfaces,  an  application  to  architecture  of 
some  feature  of  nature  indigenous  to  the  clime. 

It  would  seem  as  though  invention  languished,  except  where  it  was  either 
frozen  or  melted  into  animation ;  and  that  where  the  two  extremes  met,  a  medium 
of  temperature  was  produced,  accompanied  by  a  mediocrity  of  intellect. 

Eventually  a  spirit  of  inquiry  and  adaptation  must  arise,  M'hen,  as  in  the  ancient 
republics  of  the  ^Egean,  wealth  being  so  generally  accessible,  becomes  no  longer 


APPLIED    TO    MODERN    RESIDENCES.  19 

an  aim,  the  minds  and  energies  of  a  nation  will  be  attracted  to  the  discovery  of 
latent  but  new  principles  and  properties  of  unfathomable  nature,  and  throw  a 
broader  light  on  the  path  of  decorative  art. 

It  is  not  to  be  supposed,  however,  that  the  expediences  of  Gothic  architecture 
are  exhausted.  On  the  contrary,  from  it  we  derive  the  conception,  at  once  elegant 
and  apppropriate,  of  overcanopying  openings,  with  those  aerial  traceries  and  deli- 
cate perforations  so  characteristic  of  the  style,  which,  like  a  graceful  head-dress 
of  gauze,  protects,  but  yet  sufficiently  reveals  the  features  underneath. 

It  is  premature,  in  the  present  simple  illustration,  to  amplify  farther  on  this 
highly  ornate  covering  to  the  windows,  as  it  will  naturally  form  the  subject  of  fu- 
ture consideration,  in  the  second  example,  given  for  a  more  expensive  edifice. 

An  imposing  effect  can  be  bestowed  on  windows  and  openings  generally,  by 
receding  the  frames  sufficiently  to  afford  an  ample  return  or  reveal  to  the  front  sur- 
face. The  neglect  of  this  has  so  manifestly  impaired  some  of  our  most  important 
buildings,  that  the  attention  requires  only  to  be  drawn  to  its  existence  to  be  con- 
vinced of  its  impropriety,  and  to  avoid  any  risk  of  its  recurrence.  The  origin 
of  this  defect  may  be  attributed  more  to  the  material  hitherto  most  generally  in 
use,  than  to  the  choice  of  design  ;  no  one  having  dreamed  of  receding  farther 
from  the  glare  of  sunlight,  than  the  thickness  of  a  brick.  It  can  easily  be  con- 
ceived that  inviolable  custom,  with  those  that  move  in  strict  routine,  would  still 
continue  as  the  guide,  even  after  the  motive  which  first  suggested  it  had  disap- 
peared. Now  that  stone  has  begun  to  be  applied  with  advantage  as  the  material 
of  construction,  it  is  no  longer  necessary  that  the  depth  of  a  shadow  should  be 
measured  by  a  brick,  or  that  architecture  should  suffer  obloquy  from  the  position 
of  a  window-frame. 

A  window  opening  to  the  floor  is  desirable  in  point  of  architectural  design 
interiorly,  and  in  point  of  convenient  recreation  exteriorly.  An  air  of  romance 
seems  to  attach  itself  to  the  idea  of  a  balcony ;  and  if  genial  thoughts  can  bear 
transplanting  from  other  climes,  so  in  like  manner  may  architectural  auxiliaries. 

In  the  construction  of  balconies,  sufficient  care  must  be  exercised  to  produce  the 
feeling  of  ample  support  from  below.     It  is  not  enough  that  the  brackets  or  corbel- 


20  GOTHIC    ARCHITECTURE 

ing  be  strong  and  permanent,  but  that  they  should  appear  so.  Hence  the  objection 
to  their  being  made  of  iron.  It  were  better  to  dispense  with  boldness  and  projec- 
tion in  the  main  cornice  of  the  house  itself,  than  deny  them  to  the  balcony.  The 
cornice  is  more  for  display  and  general  effect,  whereas  the  other  combines  those 
with  an  evident  purpose.  The  design,  exhibited  in  Plate  17,  is  in  accordance  with 
this  idea;  and  in  its  details  is  as  simple  as  compatible  with  the  style  and  subject. 
In  connection  are  shown  the  heads  of  basement  windows,  the  principal  story  win- 
dows, and  part  of  one  of  the  second  story  windows. 

The  panel  heads  of  the  balcony  railing  have  no  foliations,  which  is  a  desidera- 
tum in  point  of  richness ;  but  is  more  economical  and  not  so  liable  to  suffer  injury, 
as  they  would  with  the  numerous  points  and  angles,  known  as  cusps,  which  occur  in 
amply  decorating  the  subject.  The  soffit  of  the  platform  or  floor  is  panelled  be- 
tween the  brackets ;  the  moulding  being  a  plain  hollow,  and  will  add  considerably 
to  the  lightness  and  grace  of  the  design.  In  like  manner  will  the  perforation  of  the 
brackets,  forming  a  handsome  trefoil  spandril,  which  is  susceptible  of  a  high  degree 
of  enrichment.  The  ends  or  heads  may  have  a  quatrefoil  panel  moderately  sunk 
from  the  surface.  The  exterior  angles  of  the  balcony  railing  may  be  chamfered  as 
exhibited,  with  a  good  effect ;  it  tends  to  diminish  the  abruptness  of  a  right-angle, 
and  is  peculiar  to  the  style. 

The  labels  of  the  two  windows  are  connected,  which  tends  to  produce  a 
combination  and  unity  in  the  design  highly  desirable,  and  would  also  appear  to 
advantage  in  the  windows  of  the  next  story.  The  exterior  terminations  have  knees 
or  returns,  serving  the  same  purpose  as  a  boss  or  corbel.  In  cases  where  blinds 
are  desired  to  be  used,  the  portion  above  the  transom  would  be  stationary,  which 
is  an  unavoidable  consequence  wherever  Gothic  trimmings  are  adopted.  But  in 
instances  of  stone  fronts,  exterior  blinds  have  already  fallen  into  disuse,  much  to 
the  advantage  of  the  architecture,  and  the  due  effect  of  the  material. 

Plate  18,  gives  an  elevation  of  a  portion  of  the  balcony,  with  the  accompanying 
brackets,  corbels,  and  pendants. 

Plate  19,  gives  the  projection  of  balcony  from  front  wall,  with  side-view  of  the 
railing   and  bracket;   the   platform,  cornice,  sill,  panel-heads  and   coping,  being 


APPLIED    TO    MODERN    RESIDENCES.  21 

shown  in  section.     The  prominent  details  are  given  in  profile  half  as  large  as 
reality,  partly  in  this  Plate,  and  the  remainder  in  PI.  20. 

The  label  moulding,  given  in  PI.  20,  is  for  the  principal  story  windows ;  and  is 
well  calculated  to  produce  a  favorable  combination  of  light  and  shade,  and  to  form 
a  durable  and  becoming  protection  to  the  opening.  By  dispensing  with  the  bead 
underneath,  it  might  serve  for  the  remainder  of  these  windows ;  as  mouldinss  ousht 
to  be  lightened  in  proportion  as  the  size  of  the  opening  decreases. 


22  GOTHIC    ARCHITECTURE 


O 


CHAPTER   V. 

In  the  elevation  of  a  design  for  a  city  front,  the  same  idea  ought  to  prevail  as 
in  a  detached  building,  of  producing  a  termination  of  proportionate  projection  to 
the  surface  underneath  ;  conveying  the  intent  of  an  adequate  protection,  and  while 
forming  the  roof  or  cope-stone  of  the  whole,  producing  also  a  favorable  architec- 
tural aspect  and  finish. 

The  difficulties  to  be  surmounted  in  accomplishing  this  purpose,  are  suffi- 
ciently manifest,  in  the  innumerable  failures  which  every  where  present  themselves; 
originating  solely  from  a  want  of  adaptation  to  existing  circumstances,  produced 
by  a  servile  and  unqualified  imitation  of  inapplicable  examples,  which,  in  the  first 
instance,  were  unquestionably  the  result  of  misappropriations  of  more  exalted  sub- 
jects, undirected  by  a  cultivated  taste,  or  even  by  the  most  commonplace  dis- 
crimination. 

To  determine  the  purity  and  intrinsic  merit  of  either  new  or  existing  designs, 
it  is  frequently  desirable  to  reduce  them  to  first  principles,  both  with  a  view  to  limit 
the  sphere  of  investigation,  and  to  discover  whether  or  not  they  retain  any  trace  or 
lineament  of  their  origin. 

In  deducing  the  exterior  cornices  of  modern  residences,  from  their  prototypes, 
the  ancient  eaves-troughs,  the  imagination  is  at  once  bewildered  in  the  complicated 
chain  of  mutations  which  indicates  the  different  stages  of  their  transition.  Still,  a 
surer  footing  is  to  be  obtained,  by  rising  with  the  subject  by  degrees  from  its  earlier 


APPLIED    TO    MODERN    RESIDENCES.  23 

to  its  maturer  form,  than  by  stepping  into  conclusions  at  once.  Wliile  ingenuity 
can  connect  and  frame  a  number  of  apparently  discordant  materials  into  a  con- 
sistent fabric,  by  long  and  arduous  measures,  the  judgment  can  with  a  glance 
extend  itself  from  beginning  to  end,  and  weigh  the  validity  of  the  whole. 

The  eaves-trough  possessed  what  is  wanting  in  many  modern  substitutes — an 
ostensible  and  avowed  purpose.  Still,  we  can  fancy  with  what  humiliating  stare  its 
rough  and  unpretending  exterior  would  now  be  met  by  those  who  can  discover  no 
beauty  in  mere  propriety.  Of  this  we  have  the  strongest  evidence ;  for,  saving  the 
time-honored  example  under  the  shadow,  as  it  were,  of  Faneuil  Hall,  perhaps  no 
other  has  been  spared  in  its  original  position  and  broad  proportions,  with  its  finely 
mdented  brackets,  to  tell,  in  this  respect,  the  customs  and  fashion  of  our  pre- 
decessors. 

New  conceits  seem  hereafter  to  have  arisen  with  the  obvious  intent  of  oblitera- 
ting every  vestige  of  this  useful,  but,  to  the  eye  of  change,  unbecoming  appendage 
to  a  city  house.  Then  cornices,  balustrades  and  blocking  courses,  from  the  ancient 
Greek  and  Roman,  began  to  figure,  in  many  instances  to  the  entire  derangement 
of  every  preconceived  system  of  roofing.  But  sooner  than  relinquish  such  absur- 
dities, all  sense  of  propriety  was  inconsiderately  sacrificed,  and  those  anomalous 
superstructures,  in  order  to  their  preservation,  became  tilted  upon  blocks,  to  admit 
of  a  free  passage  for  water  or  snow  underneath. 

When  such  inroads  are  made  on  the  province  of  architectural  design,  it  is  not 
surprising  their  fruits  should  soon  cease  to  gratify  the  taste  even  of  their  early 
admirers,  and  shortly  become  what  has  been  commonly  and  very  aptly  termed 
"  old  fashioned."  Nature  and  symmetry  never  lose  their  charm,  neither  can  a  com- 
position, which  owns  them  as  its  basis. 

The  original  and  natural  termination  of  the  front  wall  of  a  house  on  a  city  lot, 
where,  the  width  was  considerably  less  than  its  depth,  was  formerly  determined  by 
the  roof.  Architects  would  of  necessity,  when  left  to  the  dictates  of  their  own 
judgment,  form  the  span  across  the  shortest  bearing,  which  would  produce  a  gable 
on  the  street,  corresponding  in  pitch  to  the  nature  of  the  climate.  Hence  all  the 
first  examples  of  street  architecture  are   in   this  fashion,  and   bear   the  marked 


24  GOTHIC    ARCHITECTURE 

character  of  the  style  of  architecture  of  the  era  in  which  they  originated.  But  the 
desideratum  of  modern  architecture  is,  that  it  evinces  no  epoch  either  of  civihzation 
or  events  of  the  people  who  practice  it ;  but  is  a  mere  conglomeration  of  the  devices 
of  ancient  industry,  of  which  the  projects  as  well  as  purposes  have  long  been  extinct. 

If  it  falls  to  the  lot  of  succeeding  ages  to  determine  the  progress  and  research 
of  the  present  age  in  the  study  of  nature,  from  the  existing  monuments  of  its  ad- 
vancement manifested  in  its  buildings,  as  it  has  been  the  fate  and  privilege  of  this 
age  in  regard  to  those  gone  by,  of  which  no  relics  have  been  preserved  save  in  the 
skill  of  the  mechanic  and  the  mind  which  prompted  it,  what  a  mere  nonentity 
it  would  appear ;  what  a  paucity  of  resources  and  want  of  enterprise,  in  comparison 
with  nations  whom  history  has  generally  termed  barbarous  !  Where  will  all  the 
flimsy  sheathings  of  stone  be  in  half  a  century  ?  Dislocated  and  ruinous.  Where 
all  the  plastered  frippery  ?  In  half  that  time  mouldered  into  dust.  And  the  same 
fallacy  which  denies  permanency  to  the  material,  withholds  the  nurture  to  native 
intellect,  and  stunts  the  fertility  of  invention. 

Excepting  the  gable,  the  only  true  finish  to  a  Gothic  structure  is  the  parapet, 
with  its  corbel  table  and  accompanying  mouldings.  To  lose  sight  of  the  beauty 
of  outline  and  brilliancy  of  contrast  produced  by  the  perforations  of  a  parapet,  is  to 
neglect  the  most  important  and  imposing  feature  of  this  style  of  art.  Remarkable 
as  it  is  for  a  clear  definition  on  the  sky,  and  its  aerial  character  and  effect, 
rendered  rich  by  its  sharp  and  angled  carvings,  it  can  vie  with  every  other  substi- 
tute in  the  whole  category  of  art. 

This  effect  is  studied  in  the  production  of  the  example  exhibited  in  PI.  21, 
where  the  perforations,  in  keeping  with  those  of  the  balcony  and  other  openings, 
have  no  foliations,  being  simply  diamond-shaped  with  the  sides  slightly  indented. 
The  bracketing  of  corbel-table  is  undulated  to  suit  the  heads  of  the  upper  story 
windows,  which,  from  their  proximity  to  an  adequate  protection,  are  without  labels. 
The  introduction  of  a  corbel-table,  apart  from  the  richness  it  bestows  on  the  com- 
position, enables  the  architectural  finish  to  return  on  the  face  of  the  building  itself, 
where  it  cannot  conveniently  project  beyond  it  without  the  necessity  of  carrying  up 
a  projection  to  warrant  the  return. 


APPLIED    TO    MODERN    RESIDENCES. 


25 


The  dissimilarity  existing  between  the  Gothic  cornice  shown  in  this  example, 
and  those  of  a  classic  origin  as  usually  observed,  appears  to  be  sufficiently  obvious 
even  to  the  inexperienced  in  critical  distinctions  of  composition.  It  becomes  then 
a  matter  of  astonishment,  that  those  in  the  daily  habit  of  exercising  their  taste  and 
judgment  in  the  practice  of  building,  should  possess  so  small  a  share  of  the  ordinary 
discrimination  of  the  age  in  all  matters  of  improvement,  as  to  give  publicity  in 
veritable  stone,  to  their  doggerel  succession  of  architrave,  frieze  and  cornice,  the 
members  of  the  mouldings  crumpled  and  distorted  in  a  manner  equally  at  variance 
with  the  nature  of  the  material,  (this  might  be  overlooked  from  the  habit  of  work- 
ing in  wood,)  and  all  the  laws  hitherto  understood  of  art  or  design.  As  the  habit 
of  working  in  wood  must  be  laid  aside  when  stone  is  the  medium,  so  must  that  of 
working  in  Greek  when  the  composition  is  Gothic.  From  a  multitude  of  instances, 
the  following  may  be  chosen  as  an  apt  illustration  of  the  jargon  produced  by  talking 
in  two  tongues. 

It  is  to  be  hoped  that  the  dis- 
cordance will  render  the  language  so 
unintelligible,  as  never  to  be  under- 
stood or  acquired  as  a  current  tongue ; 
although  the  grief  cannot  be  spared  us 
of  hearing  mutilated  parts  and  broken 
accents  in  the  mouths  of  many,  who 
are  always  greedy  to  pick  up  cheap 
professional  doctrine  as  they  would 
stock  at  a  bargain,  without  being  un- 
necessarily fastidious  as  to  its  source. 
It  remains  as  a  solace  to  the  tempora- 
rily neglected  disciples  of  art,  that  all 

such   transfers   accelerate   the  depreciation,   and    ulfimntcly   reduce   the   spurious 
apology  to  its  proper  level  and  obscure  origin. 

An  imitation  that  neither  perceives  nor  apprehends  the  ruling  principle  of  the 

object  of  its  study,  and  is  so  lax  in  its  authority  as  to  render  it  difficult  to  discern 

1 


Frieze. 


Archi  brave. 


26  GOTHIC    ARCHITECTURE 

its  aim,  is  little  deserving  of  notice,  but  in  the  absence  of  more  attractive  matter  is 
but  too  apt  to  meet  with  an  undue  attention.  Otherwise  it  should  never  fall  to  our 
province  to  reprehend,  in  every  new  street,  the  reduplication  of  the  basest  copies 
and  forgeries,  unworthy  the  name  of  architecture,  which  naturally  leads  to  the 
suspicion  that  to  ignorance  more  than  purpose,  the  cause  of  art  has  to  attribute  its 
injui-ies. 

In  this  idea  a  few  incontrovertible  points  of  belief  ought  to  be  generally 
understood  and  acted  upon,  and  the  duty  inculcating  this  obedience  expected  of 
every  pretender  to  professional  skill :  such  as. 

To  choose  a  style ;  and  having  chosen,  follow  it  up  in  its  purity,  free  from 
amalgamations  or  parasitical  accessories. 

That  the  two  leading  distinctions  of  style,  are  the  ancient  and  modern — two, 
separate  and  unincorporate.  The  former  being  chiefly  distinguished  by  a  prepon- 
derance of  lateral  lines  or  mouldings ;  and  the  latter  by  vertical  ones. 

To  suit  the  character  of  the  mouldings  and  decorations  to  the  material,  and 
never  attempt  to  give  the  effect  or  purpose  of  stone  to  wood  or  plaster.  Such 
assimilations  are  generally  unfortunate ;  for  in  many  instances,  when  deemed  most 
successful,  the  illusion  is  destroyed  to  the  eye  of  the  connoisseur  by  the  inadvertent 
or  thoughtless  stroke  of  the  tradesman's  pencil  or  trowel,  in  depicting  the  imaginary 
joints  or  fictitious  grain  of  the  material  to  be  imitated ;  even  such  fac-simile 
representations  needing  more  skill,  than  the  pains  of  the  artisan  or  the  munificence 
of  the  patron  is  generally  willing  to  bear.  It  is  quite  customary  in  modern  church 
architecture,  to  see  would-be  stones  suspended  in  the  most  impracticable  manner ; 
and  arches  of  the  most  elaborate  but  at  the  same  time  most  inexplicable  groining, 
jointed,  so  as  to  set  all  the  preconceived  laws  of  gravitation  at  defiance.  Such 
grievances  might  well  be  spared,  if  modern  notions  would  but  confine  themselves  to 
the  bounds  of  their  capacity,  and  shun  that  impervious  barrier  to  all  true  progress — 
pretence. 

It  is  not  always  practicable  to  maintain  the  vertical  line  in  modern  practice, 
any  more  than  it  is  to  maintain  the  by-gone  habits  and  customs  of  our  ancestors. 
It  does  not  become  a  dogma,  that  all  matters  of  use  and  convenience  should  be 


APPLIED    TO    MODERN    RESIDENCES. 


27 


disarranged  and  contorted,  to  the  illumination  of  a  principle.  This  is  pure  servility. 
It  is  enough  that  its  influence  is  felt ;  that  a  gleam  of  its  presence  should  illume 
the  composition  instead  of  petrifying  it.  Herein  is  art — neither  second-hand,  nor 
reflected,  but  fresh  as  at  first ;  for,  like  the  garb  of  Nature  reproduced,  its  presence 
is  a  perpetual  spring. 

The  interruption  of  the  lateral  line  is  not  always  attended  with  the  success 
desired,  inasmuch  as  the  sacrifice  of  elaborate  beauty  in  prolonged  repetition,  as  in 
the  foliated  compartments  of  the  perforated  parapet,  is  not  easily  compensated  for 
even  by  the  more  characteristic  gable.  In  illustration,  the  termination  over  win- 
dows, as  given  in  the  adjoining  sketch, 
would  but  modestly  compare  with  that 
in  PI.  21 ;  still  it  possesses  a  more  de- 
cided claim  on  our  architectural  favor, 
as  more  in  accordance  with  the  views 
and  practice  of  the  age  where  this 
style  of  art  first  had  a  being 

PL  22,  gives  the  cornice  and 
parapet  in  geometrical  elevation.  PI. 
23,  gives  a  section  of  the  same,  with 
various  enlarged  details;  and  PI.  24, 
an  enlarged  shaded  elevation  of  the 
mouldings  and  enrichment  of  cornice, 
sufficient  in  all  to  form  a  correct  idea  of  the  design,  either  for  purposes  of  study  or 
for  execution. 


28  GOTHICARCHITECTURE 


CHAPTER  VI. 

To  the  exterior  of  a  city  house  there  remains  one  more  important  accessory, 
worthy,  in  all  respects,  the  best  efforts  of  the  architect,  being  as  it  were  the  title- 
page  or  frontier  of  his  domain — the  stoop — so  peculiar  and  indispensable  to  the 
purpose  and  plan  of  a  New- York  mansion. 

Paris  may  boast  of  its  porte  cocheres,  London  of  its  barricaded  quadrangles ; 
but  this  city  is  paramount  in  the  possession  of  a  feature  more  picturesque  than 
either,  and  more  susceptible  of  architectural  effect. 

It  is  supposed  we  are  indebted  to  the  ci-devant  Hollanders  for  the  instigation 
of  this  imposing  mode  of  access.  Their  views  of  domestic  comfort,  having  been 
formed  in  a  watery  country,  where  a  certain  elevation  above  the  surface  was  not 
optional  but  compulsory,  were  not  so  easily  shaken  or  dispelled  when  circumstances 
had  relieved  them  of  the  necessity.  Apart  from  this  cogent  reason  for  elevating 
the  main  entrance,  a  similar  disposition  is  manifested  in  other  countries  in  the  early 
examples  of  domestic  architecture,  which  has  never  entirely  fallen  into  desuetude 
till  the  traffic  in  cities  becoming  so  great,  rendered  its  practice  inconvenient.  Even 
as  within  the  limits  of  our  own  observation  all  similar  excrescences,  once  deemed 
indispensable,  disappear  before  the  sweeping  march  of  commerce ;  and  localities 
once  courted  for  their  exclusiveness  and  repose,  have  now,  dismantled  of  their 
former  dignities,  been  made  the  scenes  of  busy  toil  and  indiscriminate  confusion. 

A  degree  of  statelincss  is  bestowed  on  the  principal  floor  by  an  adequate 


APPLIED    TO    MODERN    RESIDENCES.  29 

ascendency  over  the  side-walk  and  its  daily  crowds.  This  is  liable  to  be  overdone, 
and  the  proper  altitude  exceeded,  to  the  daily  inconvenience  of  the  occupant.  It 
does  not  seem  consistent  to  disparage  the  most  important  rooms  of  the  house  for 
the  sake  of  those  in  the  basement.  And  no  other  reason  could  induce  the  inordinate 
ascent  given,  in  many  instances  amounting  to  twelve  and  thirteen  steps  in  suc- 
cession. 

In  the  design  PI.  27,  the  rise  is  limited  to  eight  steps  in  the  flight  besides  that 
at  the  railing  and  door-sill,  which  if  the  convenience  of  access  by  the  principal  door 
is  an  object,  it  would  be  most  prudent  never  to  exceed.  It  is  preferable  when 
greater  height  is  desirable  in  the  basement  to  add  another  riser  at  the  door,  but  in 
no  case  to  the  main  flight. 

An  easy  rise  of  steps  will  always  depend  on  the  breadth  of  the  tread  or  flat 
surface,  which  is  ample  at  fourteen  inches,  and  the  rise  at  seven  inches  or  the 
fractional  part  of  an  inch  more,  but  rarely  amounting  to  eight — any  decrease  of  the 
former  or  increase  of  the  latter,  will  inevitably  render  the  ascent  laborious. 

Another  invaluable  prerogative  is  an  ample  platform,  where  a  freedom  of  action 
may  be  obtained  without  the  apprehension  of  a  careless  step  throwing  you  to  tlie 
bottom.     The  width  will  also  enhance  the  facility  of  the  entrance  to  basement. 

The  design  as  exhibited  is  for  an  avenue-lot  or  wide  street,  where  the  privilege 
of  front-yards  is  greater  than  usual :  but  becomes  equally  available  to  ordinary 
cases  by  dispensing  with  the  outer  pair  of  pedestals.  The  pedestals  have  the 
coping  of  parapet  returned  round  them  for  capitals,  and  the  angles  chamfered,  which 
prevents  their  being  easily  defaced,  and  produces  a  pleasing  architectural  variety  a* 
a  slight  cost.  Those  forming  newels  flare  or  incline  outwards  from  the  direct  line 
of  the  string,  as  may  be  more  readily  perceived  by  the  plan  PI.  25,  afibrding 
thereby  all  the  facilities  of  a  curtail  or  bent  step,  which  in  this  style  would  destroy 
'.he  character  of  the  composition. 

The  railing  or  parapet  is  perforated  in  a  bold  and  appropriate  manner,  without 
teconrse  to  unnecessary  ornament  or  far-fetched  devices,  but  simply  enough  to 
lighten  in  weight  and  enliven  in  appearance  the  entire  mass. 

Door-pieces  and  stoops  having  a  pretence  to  Gothic  design,  arc  often  made 


30  GOTHIC    ARCHITECTURE 

ridiculous  by  the  introduction  of  square-sunk  or  chamfered  rustications  on  the  joints 
of  the  basement.  It  is  almost  incredible  that  such  fooleries  should  continue,  when 
their  absence  would  be  attended  with  the  desired  effect  and  a  diminution  of  the 
expense.  Water-tables,  plinths,  square  sills,  and  other  catalogue  of  ancient  art 
and  house-building,  had  better  be  unknown  than  reserved  for  adulterating  other 
compositions. 

The  iron  railing  inclosing  front-yard  or  area,  is  a  simple  trifoil-headed  panel 
on  a  course  of  quatre-foils,  subdivided  into  two  panels  in  the  heads,  with  foliage  of 
crockets  running  laterally,  and  square  chamfered  posts  at  proper  intervals,  capped 
with  a  reduced  section  of  coping  to  newels. 

PI.  26,  is  the  section  of  stoop,  exhibiting  the  different  levels  from  the  side-walk 
to  principal  and  basement  floors,  with  the  accompanying  parts  in  elevation. 

PI.  28,  contains  the  necessary  details  of  the  component  parts  of  the  design, 
with  the  centres  for  describing  the  various  curves  and  cusps,  indicated  by  inter- 
section of  dotted  lines. 


APPLIED    TO    MODERN     RESIDENCES.  31 


CHAPTER  VII. 

In  pursuit  of  the  plan,  and  in  accordance  with  the  purpose  expressed  in  the 
early  portion  of  the  work,  we  revert  to  a  subject  then  partially  illustrated.  The 
staircase  now  presented,  is  sufficiently  ample  to  admit  of  the  freest  scope  to 
architectural  skill. 

Passing  from  the  entrance  under  three  spacious  arches  indicated  beyond  the 
section,  PI.  30,  and  consequently  not  traversed  by  the  stairs  as  at  first  apparent, 
the  stairs  start  from  the  left  jamb  of  passage  leading  to  the  rear,  which  corresponds 
with  the  right-hand  arch  of  those  at  entrance,  and  ascend  by  straight  flights,  at 
right-angles  to  each  other,  with  square  platforms  in  the  angles,  from  the  second 
of  which  the  view,  PI.  31,  is  given.  The  light  descending  in  full  stream  from  above, 
distributed  and  broken  by  the  innumerable  angular  surfaces,  and  the  brilliant  con- 
trast of  the  dark  wood  with  the  mellow  hue  of  the  walls  and  floor,  cannot  fail  to 
produce  one  of  the  most  pleasing  subjects  of  internal  picture.  The  effect  of  the 
scene  may  be  still  farther  heightened  by  the  use  of  stained  glass  in  the  sky-light, 
being  the  place  of  all  others  the  best  calculated  for  display  in  that  department 
of  art. 

Although  past  experience  has  presented  the  angular  staircase  in  every  shape 
ingenuity  could  devise,  availing  itself  of  the  frequent  advantages  of  access  to  inter- 
mediate floors,  producing  thereby  an  imposing  complicity  of  doors,  at  difleront 
intervals  of  height,  the  abuse  of  which  privilege  frequently  involving  the  beholder 


32 


GOTHIC    ARCHITECTURE 


in  a  species  of  architectural  labyrinth.  Yet  modern  practice  seems  taken  aback  in 
starting  anew  on  this  well-trodden  track,  and  instead  of  rendering  the  openings 
subservient  to  their  various  purposes,  the  platforms  and  landings  mutilate  and  inter- 
sect them,  as  though  the  house  had  been  built  in  the  first  instance  without  regard 
to  the  stairs,  or  as  if  the  stairs  were  part  of  another  work  interpolated.  How 
forcibly  this  appears  in  many  recent  examples,  which,  judging  from  the  advanced 
state  of  the  profession,  a  taste  endowed  with  the  first  principles  of  common  pro- 
priety would  hardly  credit.  But  among  numerous  proofs  of  the  depravity  of  modern 
principle,  from  the  mass  of  sad  realities  surrounding  us,  we  blush  as  we  adduce 

one  instance  in  point,  hoping  that  the 
future  will  yield  us  fewer  sacrifices  of 
architectural  truth,  or  of  common  sense. 
Here  the  exterior  is  falsified,  unless 
another  untruth  be  perpetrated  to  screen 
the  former  one  in  the  shape  of  blacken- 
ed glass,  and  in  the  interior  the  inmates 
might  truly  be  ashamed  to  avail  them- 
selves of  the  light  afforded  through  the 
deformed  openings.  Such  decrepitudes 
would  do  well  to  be  noted  in  public 
hints  on  architecture,  as  we  are  gene- 
rally more  improved,  at  all  events  better 
schooled  by  the  exhibition  of  one  such 
egregious  blunder,  witliin  our  reach, 
than  by  unnecessary  encomium  passed  on  paper  repetitions  of  the  niedia;val 
architecture  of  Europe. 

It  is  an  absurd  precaution  to  inclose  a  staircase,  or  arrange  it  in  a  nook  or 
corner  not  readily  discernible.  It  is  equally  so  to  introduce  false  doors  to  balance 
the  design.  A  general  rule  and  understanding  ought  to  prevail  in  these  matters, 
that  the  parts  of  a  dwelling  intended  as  accessible  to  visitors,  should  present  an 
intelligible-  plsin  and  purpose  to  the  most  superficial,  and  never  derange  tlio  cqiia- 


APPLIED    TO    MODERN    RESIDENCES.  33 

nimity  by  an  unusual  effort  at  intricacy  and  complication  of  openings  and  projec- 
tions, done  in  the  view  of  magnifying  a  limited  space,  but  thereby  depriving  it 
of  that  unassuming  repose  and  honesty  of  design  which  ought  in  every  case  to 
characterize  a  private  residence.  As  it  is  in  life,  a  bold  and  fearless  maintenance  of 
principle  will  always  meet  with  its  due  appreciation,  even  by  those  whose  schemes 
it  unintentionally  frustrates;  so  in  building,  the  rejection  of  screen-work  will  claim 
a  certain  reverence  even  from  the  habitually  fastidious.  A  screen  is  a  subterfuge 
which,  if  private  residences  are  to  minister  to  all  the  diversity  of  interests  of  a 
common  lodging-house,  it  would  be  pardonable  to  have  put  up.  Such  has  been 
done,  but  the  advance  of  society,  in  its  views  of  domestic  comfort,  is  now  pulling 
them  down. 

Houses  have  hitherto  been  built  on  a  plan  to  suit  every  one  or  all,  and  no  one 
in  particular.  Indeed  people  are  debarred  from  using  their  own  judgment,  from 
the  dread  that  building  to  suit  their  own  convenience,  would  render  the  property 
unsaleable ;  so  it  ought.  A  man  ought  to  become  as  much  attached  to  his  hearth 
as  to  his  own  party  in  politics,  or  religion.  Which  will  yield  the  greatest  comfort  ? 
Inconstancy  in  all  has  always  met  with  reprobation.  But  in  the  conflicts  agitating 
a  new  state  of  society,  in  the  first  exuberances  of  freedom,  in  the  first  development 
of  a  new  and  untried  faculty,  the  more  sober  attributes  sleep,  to  awaken  however 
when  the  ferment  has  subsided.  The  temporary  accommodations  which  have 
afforded  shelter  during  the  turmoil  in  the  search  of  government  and  fortune,  are 
mere  chrysalis,  which,  when  the  larvae  attain  to  maturity,  are  but  empty  shells,  left 
to  crumble  and  decompose  into  their  original  elements.  The  expanded  life  demands 
a  more  congenial  abode,  in  which  the  prevailing  presence  of  a  living  art  may  be 
found  to  sympathize  with  the  hopes  and  fears  which  agitate  humanity.  Does  not 
all  the  offspring  of  nature  assimilate  itself  to  its  retreat — the  deer  to  their  aromatic 
pastures ;  the  buffalo  to  the  unbroken  plain ;  and  the  unlettered  savage  to  his  track- 
less woods  ?  and  is  individual  man,  in  all  his  intellectual  wealth,  to  be  less  privileged 
than  they?  It  need  not  be,  his  province  is  next  to  the  creative ;  it  is  that  of  assimi- 
lating objects  to  himself;  of  treasuring  up  around  him  the  images  of  things  great, 
worthy,  and  impressive.  His  house  is  the  receptacle ;  if  he  be  a  lover  of  nature 
5 


34  GOTHIC    ARCHITECTURE 

he  can  have  trees  there,  he  can  have  landscape,  not  that  of  every-day  Hfe,  but  that 
which  a  Claude  or  a  Gainsborough  have  laid  both  nature  and  art  under  contribution 
to  furnish.  The  majestic  oak,  from  its  topmost  branches  down  to  its  gnarled  root, 
may  reappear,  gifted  by  the  finger  of  art,  in  the  carvings  and  furniture  of  his 
cabinet.  The  very  acorn,  with  its  cup  already  carved,  and  the  broad  indented  leaf, 
are  prnaraents  which  grow  anew  in  the  tracery  and  cornices.  And  polish  eliminates 
in  the  table-top  the  ramifications  of  root  and  branch,  a  miniature  delineation  of 
the  tree  as  it  stood  in  its  pristine  dignity,  which  but  for  the  ceaseless  curiosity  of 
art  would  have  lain  entombed  for  ever ;  indicating  the  zeal  of  nature  to  perpetuate 
her  image  in  places  and  objects  innumerable,  where  science  would  teach  us  to  look 
for  them  in  vain. 

Few  men  of  name  but  have  essayed  to  enshrine  themselves  in  a  realm  of 
fancy  or  reality,  of  their  own.  Mere  wealth  cannot  accomplish  this ;  many  pos- 
sessors of  wealth  would  rather  have  every  thing  done  to  their  hand  than  exercise 
the  slightest  exertion,  as  if  one  successful  stroke  of  policy  entitled  to  a  future 
of  passive  indifference  :  but  this  indifference  is  apathy,  the  surrounding  objects  ai'e 
not  his,  they  are  his  estate's ;  they  are  part  of  his  gold,  and  possess  just  as  much 
identity  with  him  as  the  other  part.  Not  so  the  men  of  name  :  they  are  surrounded 
by  their  own,  the  children,  the  visions  they  have  called  into  being ;  and  long  indeed 
after  death  has  removed  all  these  playthings,  are  the  late  possessors  brought  to  life 
again,  as  one  of  a  generation  of  which  many  centuries  ago  they  were  the  fathers. 
Will  not  Mount  Vernon,  or  the  Hermitage,  recall  one  glimpse  of  the  great  departed  ? 
Yes,  many !  there  is  no  lack  of  the  identity  of  mind  with  matter  there,  even  the 
oddest  fancies  become  characteristics,  when  the  legend  of  the  place  informs  you, 
"  that  HE  would  have  it  so."  The  impulse,  the  reason,  the  wherefore  all  disappear ; 
you  hold  commune  with  the  great  that  speak  to  all  posterity,  and  can  answer  for 
themselves. 

Inherent  in  the  few,  emulated  by  many,  the  passion  of  surrounding  themselves 
by  objects  of  art  must  be  developed  in  more  or  less  vigor  as  the  pressing  elements 
from  without  become  subdued.  The  decorations  of  the  drawing-room  or  the 
library  will  then  be  no  longer  left  to  the  plasterer,  or  house-pain.ter,  moulders,  and 


APPLIED    TO    MODERN    RESIDENCES.  35 

casters,  the  engines  merely  of  absent  thought,  but  tlie  subject  will  become  enlivened 
by  the  magic  efforts  of  living  art,  and  bear  the  mark,  the  seal,  the  energy  of  living 
hands. 

The  turning-lathe  and  the  modeller's  matrix,  are  save-alls  to  mechanics,  but 
slurs  upon  art ;  take  the  turned  bannister  and  the  cast  railing,  the  foliage  of 
kneaded  dough,  and  destroy  the  fairest  fancy  that  ever  sprung  from  the  pencil 
of  design.  To  the  staircase  in  view  this  could  hardly  apply,  the  railing  being  of  an 
unusual  formation,  which  owing  its  effect  to  perforation,  could  not  be  deprived  of  it, 
although  sawed  out  of  one  flat  piece,  and  the  newels  turned  by  the  engine.  Never- 
theless, from  an  ingenious  workman  more  could  be  derived;  the  line  cf  foliation 
would  be  sweeter,  the  cusps  more  piquant,  and  every  arras  show  the  value  of  care 
and  guiding.  The  branches  spreading  out  in  the  trifoils  would  be  of  metal,  it  is  to 
be  feared  of  cast  metal ;  for  present  practice  has  almost  lost  the  art  of  working  the 
cold  material  into  those  ductile  fibres  and  filmy  leaves  which  mark  the  iron  work 
of  the  middle  ages  when  moulding  sand  was  still  cold. 

Plate  32,  exhibits  on  an  enlarged  scale  the  tracery  composing  the  design ;  the 
centres  of  foliations  being  determined  by  the  intersections  of  dotted  lines,  which 
also  define  the  projection  of  cusps.  The  most  intricate  tracery  becomes  simple 
when  reduced  to  a  geometrical  figure ;  and  with  but  few  exceptions  this  is  practi- 
cable, indicating  the  power  of  geometrical  principles  to  unravel  the  apparently 
inexplicable  and  sinuous  forms  of  nature. 


36  GOTHIC    ARCHITECTURE 


CHAPTER  VIII. 

Supposing  the  front-hall  bedroom  of  the  second  story  be  relinquished,  and  the 
space  thereby  obtained  thrown  into  the  front-room,  an  apartment  will  be  presented 
better  fitted  for  architectm-al  finish  than  any  other  in  the  house.  This  might, 
according  to  the  taste  of  the  owner,  be  disposed  as  a  picture-room  or  library,  or 
both  incorporated  ;  the  assimilation  is  natural  and  appropriate.  The  effect  is  given 
in  Plate  36,  as  that  on  the  right-hand  of  the  entrance  from  hall.  The  windows, 
three  in  nmnber,  have  deeply-paneled  jambs,  the  depth  produced  by  the  projection 
of  book-cases,  the  paneling  is  composed  of  quatrefoils,  inclosing  trifoils  and  shields, 
underneath,  and  continued  up  the  jambs  with  foliations  at  suitable  intervals.  The 
windows  are  divided  into  two  lights,  and  subsequently  into  four ;  the  lower  panels 
having  cinquefoil  heads,  and  the  upper  trifoik  :  the  tracery  is  so  subdued  as  not  to 
entail  any  of  the  ecclesiastic  character ;  a  beautiful  quatrefoil  is  cut  clear  and  sharp 
in  the  head  of  each  half,  the  remainder  not  being  perforated ;  the  eflfect  of  this  is  to 
produce  a  perfect  figure  even  when  one-half  of  the  window  is  open,  which  again 
does  not  suffer  in  cQmbination  as  a  whole. 

The  spandrils,  formed  by  the  arched  head  and  lateral  line  above,  are  composed 
of  a  rigid  combination  of  rectilinear  panels,  contrasting  favorably  with  the  flowing 
lines  underneath,  as  will  be  seen  in  enlarged  elevation,  Plate  35.     These  are  fol- 


APPLIED    TO    MODERN    RESIDENCES.  ,37 

lowed  by  a  course  of  quatrefoils,  and  lastly  by  the  cornice  of  simple  conformation ; 
the  prominent  hollow  having  paterae  disposed  at  suitable  intervals,  given  in  detail 
in  Plate  34. 

The  windows  are  each  flanked  by  delicate  octagonal  buttresses,  which  at  the 
spring  form  the  support  to  spandrils  under  beams  of  ceiling,  thereby  producing 
a  fine  continuity  of  line.  Between  them  are  disposed  the  book-cases,  composed 
of  light  metal  sash  foliated  in  the  head,  the  glass  to  consist  of  one  plate  in  each 
panel.  The  parapet  presents  a  smooth,  unbroken  surface,  with  a  bold  indented 
outline. 

The  aspect  towards  the  chimney  is  truly  manorial.  The  broad  and  massive 
breast;  the  wide,  open  chimneypiece,  flanked  by  its  guardian  towers,  and  sur- 
mounted by  the  escutcheon  of  the  house;  the  living  embers  casting  a  flickering 
light  through  the  perforations  of  the  spacious  fender,  and  upwards,  even  to  the 
ceiling  of  the  smoke  canopy,  tipping  the  cusps  with  sparkling  gold. 

The  ceiling  can  scarcely  be  said  to  be  enriched,  but  to  consist  merely  of  the 
beams  necessary  to  carry  the  floor  overhead,  intersecting  each  other  at  right-angles, 
with  an  occasional  square  paneled  with  diagonal  ribs,  and  a  suitable  moulding 
worked  on  the  lower  face,  with  small  pendants  at  the  intersections.  The  squares 
might  advantageously  be  filled  with  foliated  cusps,  as  more  fully  exhibited 
in  portion  of  plan,  Plate  33.  The  work  would  either  be  of  oak,  or  painted  to 
imitate  it. 

The  furniture  consists  of  an  arm-chair  of  perforated  tracery  cushioned  on  the 
inner  face,  or  otherwise,  at  the  desire  of  the  occupant:  architecture  is  not  supposed 
to  minister  to  luxury,  but  to  taste.  A  reading-desk,  with  four  inclined  tables, 
turning  on  a  centre  for  the  convenience  of  consulting  works  of  reference.  Per- 
forated spandrils  depend  from  the  corners,  and  the  feet  are  designed  to  possess 
the  greatest  amount  of  stability,  as  well  as  the  peculiar  character  of  the  style. 
A  candelabra,  of  graceful  proportions,  casts  a  mellow  light  on  the  surrounding 
objects ;  its  base  bracketed  out  so  as  to  allow  the  main  stem  to  hang  clear 
of  the  floor,  and  the  top  branching  from  the  corrugated  shaft  into  numerous  tiny 
pendants. 


38 


GOTHIC     ARCHITECTURE 


While  treating  of  the  subject  of  furniture,  as  our  province  will  not  extend 
to  the  chambers  of  the  house,  this  opportunity  is  taken  of  presenting  their  two 
important  movables. 


The  bed  is  of  the  simplest  form,  low  and  broad,  the  head  slightly  predommates 
over  the  foot ;  the  foliage  falls  in  massive  sweeps,  with  the  expression  of  having 
grown  to  its  present  form.  The  broad,  deep  indentations  are  the  very  spirit  of 
carving ;  and  as  one  fold  overlaps  another,  the  leaf  might  be  supposed  to  yield  its 
pliant  surface  to  the  object  on  which  it  rests.  A  drapery  of  trifoils  is  continued 
on  all  sides,  forming  a  pretty  fringe  or  border. 


APPLIED     TO     MODERN     RESIDENCES. 


39 


The  dressing  glass  is  an  oblong ;  the  frame  a  plain,  hollow  monlding,  falling 
on  a  beveled  sill,  interrupted  only  by  the  taper  brackets  until  it  arches  over  and 
expands  into  intertwining  foliage  at  the  head.  The  outline  is  marked  by  three 
boldly  relieved  crockets. 


40  GOTHIC    ARCHITECTURE 


CHAPTER  IX. 

It  is  now  generally  conceded,  that  positive  colors  may  be  sparingly  distributed 
on  proximate  objects,  without  disturbing  the  harmony  of  the  other  parts  of  the 
composition. 

In  the  present  style  of  architecture,  depending  as  it  does  so  much  for  its 
character  on  the  beauty  of  perforation,  it  has  never  been  disallowed ;  the  sinking 
when  perforation  cannot  be  obtained  is  so  much  enlivened,  and  the  figure  so  much 
better  defined,  that  its  introduction  is  always  acceptable. 

The  first  illustration  is  in  the  ceiling-ornament  of  Plate  9,  the  delineation  of 
which  presents  a  regularity  of  perforation  and  a  variety  of  outline  rarely  to  be  met. 
The  background  has  sufficient  space  to  allow  of  a  mass  of  color,  and  the  smaller 
interstices  are  enlivened  by  a  brighter  body.  The  grounds  are  chased  with  twining 
foliage,  or  might  quite  as  effectively  be  hatched  with  stars. 

The  second  is  the  chimney-breast,  Plate  16,  which  is  given  more  as  the 
treatment  of  a  series  of  parts  than  as  a  single  composition  appropriate  as  a  whole, 
to  any  individual  instance.  As  for  example ;  a  cornice  may  be  aptly  illuminated,  as 
there  expressed,  apart  from  its  relative  position  to  other  matter.  A  paper  might  be 
composed  of  the  central  subject,  or  of  either  of  the  two  main  panels ;  all  would  of 
course  depend  as  much  as  does  the  carpet  on  the  light,  the  space,  and  the  purpose 
of  the  apartment. 

The  third  is  the  intermediate  door,  Plate  14,  illumed  with  stained  glass,  a  very 


APPLIED    TO     MODRRN     RESIDKNCKS.  41 

enlivening  subject,  although  rendered  commonplace  from  its  frequency,  but  from 
more  reasons ;  color  satiates,  nay  disorders  the  eye,  while  form  never  docs.  It  is 
only  fit  to  be  taken  at  a  glance,  not  to  be  studied. 

The  title,  the  first  and  last  object  of  solicitude,  is  perhaps  the  best  combination 
of  positive  colors ;  vrhile  far  from  gaudy,  it  is  forcible ;  and  while  it  reanimates  the 
mouldings,  preserves  their  shape  uncontaminated.  This  might  form  a  suitsible 
entrance  to  a  conservatory,  or  other  interior  door  of  communication,  as  at  the 
termination  of  a  long  hall,  where  a  little  attraction  serves  to  draw  the  beholder 
onward. 


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